It’s unusual to get sent DJ-mixed compilation albums here. Focussing on art music, experimental sound and the more thoughtful and esoteric sides of noise normally means a purist approach to the integrity of the work, so an 18-track mix of different artist’s work blended together into one 74-minute mix is something of a novelty. But, like some of the best mixed compilation albums of the past, the result, compiled by Momoko Goto a.k.a. Powder, is a utterly coherent sonic journey that definitely stands up as a worthy piece of art in its own right.
Predominantly this is feather-light electronic house music, that borders variously on chill-out, semi-ambient and lounge but carefully so, and without ever delving into corny territory.
The opening tracks are especially mellow, bordering on full ambient, with elements that bring back strong and pleasant memories of the 90’s, both in tone and sonic quality. This is bookended well with the latter sections too, with the smooth leisurely hum of Lord Of The Isles’ “Your Smile” taking it down multiple notches, before a quite 80’s-ish finale in Cos/Mes’s “Forever”.
Inbetween those points, once it gets going, the remix of Daphne’s “When You Love Someone” epitomises the sunkissed dancing-on-the-beach vibe that dominates the central section. Vedagor’s “Untitled II” utilises the ubiquitous and overused ‘deep spoken word vocal talking about house music’ technique for engagement, a perhaps slightly unwelcome narrative interruption to what’s mostly a very smooth instrumental journey. A sense of bright optimism pervades, with Powder’s own track “Gift” and Vertigo Inc’s “The Water Margin” exuding unashamed feel-good vibes.
There are slightly quirkier moments here too, but nothing to shake you off your stride. Tiago’s “Roy Brooks” works around an infectious jazz loop. K-Line’s “Saxopetu” is a squelchy number with a bouncy acid bassline and a keyboard-choir-sound melody that borders on daft, with Jules Etienne’s “Cuban Omelette” is not as silly as its title suggests, with its decidedly retro light techno vibe.
It’s pitched in high artistic terms as an exploration of “the properties of time” and “genre, movement, schedule, and societal convention to rebel”, and while I’m not wholly convinced that its credentials would hold up to excessive scholarly scrutiny, nevertheless the bottom line is that this is a great mix. Relaxing, detailed, well-pitched and positive, it’s a release I’ll be returning to for pleasure for sure.